"Musedita is a small publishing house set in Albese con Cassano (province Como, Italy). Its owner and artistic director is Alessandro Bares, a professional musician interested in baroque music since 1990, when he started studying baroque violin at the "Centre de Musique Ancienne" in Geneva and musicology at the "Scuola di Paleografia e Filologia Musicale" in Cremona (now"Facoltà di Musicologia" , University Pavia).

This is a list of drawings published by the 26 museums and collections which have participated in the project to microfilm technical drawings of musical instruments, organised by Hague Gemeentemuseum, Netherlands, with the co-operation of CIMCIM. This list, prepared by Dr Rob van Acht of the Hague Gemeentemuseum, includes the drawings now available on microfiche. The drawings are all also available in their original format directly from the participating museums, many of which also have further drawings on sale. ...

“Ut Orpheus Edizioni is a specialized publishing house, founded in Bologna in 1994 with the purpose both to discover and promote the rich Italian and European musical heritage of the past centuries and to propose itself as a vehicle for the diffusion of the contemporary musical culture.

In the past few years Ut Orpheus has rapidly achieved a relevant place among the leading international publishing houses, gaining the praise of some of the most outstanding representatives of musical culture, and establishing non episodic relations with prestigious performers, musicologists and institutions, among whom Riccardo Muti, the Salzburg Festival, the Ravenna Festival, Christopher Hogwood, Kenneth Gilbert, Hopkinson Smith.

Ut Orpheus publishes the Opera Omnia of Luigi Boccherini, Muzio Clementi, Francesco Geminiani, and the complete editions of Alessandro Scarlatti's keyboard works, Claudio Monteverdi's madrigals and sacred music, Johann Sebastian Bach's lute works. It has recently started an important and innovative project aimed at the critical edition in diplomatic transcription of the Ars Nova codices. Starting from 2007, the journal 'Ad Parnassum', now in its seventh year, was included in the 'Musicology initial list' of the European Reference Index for the Humanities (ERIH). The catalogue gives particular relevance to the music for harp, guitar, recorder and keyboard instruments, as well as to the 20th century repertoire and the new authors, significantly including jazz and ethnic music.

“In Japan, there are many unavailable collections of musical sources (musical notes, books on music, etc.). Of primary consideration is the Nanki Music Library, founded by Marquis Yorisada Tokugawa (1892-1954) in Azabu-Iikura, Tokyo in 1918, which includes autographs of Beethoven, Liszt, and other composers. The Nanki Music Library was the first public musical library in Japan and actively collected many rare musical sources from throughout the world, such as the bibliotheca of William Hayman Cummings (1831-1915), a British music educator. The Library was closed to the public in 1931 due to financial difficulty of the Tokugawa family; nevertheless, international attention has remained focused on the collection.

This project aims to design and create digital content materials from such sources with the expert assistance of digital archivists at the studio of the Research Institute for Digital Media and Content (DMC), Keio University. The digitized musical contents will be distributed internationally, and will enhance Japan’s contribution to music in the future. Emphasis in the digitization process is both on the applicability of the collections’ structure to other musical archives and its potential for use in the development of new educational materials. ..”

" ... As the result of donations to the University of Melbourne given by both Louise Hanson-Dyer and J.B. Hanson, all the company's publications from 1979 have been produced with the financial assistance of the University of Melbourne. The involvement of the University has been substantial, notably since the signing in 1986 of a formal agreement of collaboration between the University and Éditions de l'Oiseau-Lyre. The company is now owned by the Lyrebird Trust, of which the University of Melbourne is a Trustee.

Since 1993, Éditions de l'Oiseau-Lyre has also received financial support for the publication of the Magnus Liber Organi series from the Monaco government and the SOGEDA (Société pour la Gestion des Droits d'Auteurs) of Monaco. The Fondation Francis et Mica Salabert, whose Musica Gallica series has as its aim the publication of the musical heritage of France, has helped substantially with the Magnus Liber Organi and other l'Oiseau-Lyre volumes of French music. " Visit website for more information. (ed.)

"Welcome to the CMME Project, a scholarly initiative to offer free online access to new, high-quality early music scores produced by today's leading experts. Based at Utrecht University in the Netherlands, the project represents a collaborative development effort of specialists in musicology, information science, and music retrieval. The major purpose of the enterprise is to produce and maintain an online corpus of electronic editions, in addition to software tools making them accessible to students, scholars, performers, and interested amateurs. Here, the brilliant polyphonic styles known to the modern world through the works of such masters as Dufay, Josquin, Machaut, Palestrina, and Tallis can come to life again in the central medium of the 21st century. " ...

"The site has been named after Ottaviano Petrucci di Fossombrone, 1466-1539, paper maker, printer and publisher. He was the first music publisher, Venice 1501.

This site contains free sheetmusic:

1. Polyphone vocal and instrumental pieces from the Renaissance transcribed for harpsichord, organ or harp (included the diatonic or Celtic harp); some pieces are originally meant or suitable for the lute; a number of works has been given in score for ensembles with separate voices and a number are presented with text and translation in English.

2. Gregorian plainchant in modern staff notation for recorder, other melody instrument or solo voice; translations have been added.

3. Bicinia from Obrecht to Mozart, for recorders or other melody instruments, some of them with text and translation in English. ... " Visit website for more information. (ed.)

"TmiWeb is the online version of Thesaurus musicarum italicarum, an electronic corpus of Italian music treatises from the Renaissance and early Baroque. It contains the works of two of Italy’s most important authors on music theory, Pietro Aaron (c. 1480-c.1545) and Gioseffo Zarlino (1570-1590), as well as to a number of writings by their contemporaries. Nearly 30 works are online on TmiWeb in a full-text, searchable multimedial edition. " Visit website for more information. (ed.)

" "What's this thing, Polish Early Music? Never heard of it!"
We would be not surprised if you didn't. No offence meant: it is obscure. Here you can listen to some samples of Polish EM and learn a bit about our composers. And if you liked the site and the music, come again or drop us a note. We will be more than happy to help you within the limits of our knowledge and resources. " ...

"English version of project of Musicantiga, the first portuguese site dedicated to Early Music in its whole. With biographies, musical scores, audio files, manuscripts, links and agenda of events all through Europe and America ... " Visit website for more information. (ed.)

“The Düben Collection Database Catalogue is a digitised catalogue presenting meta-data and scanned facsimile of the Düben Collection, a large and important collection of musical manuscripts and prints from the 17th and early 18th centuries. The Catalogue is managed from the Department of Musicology at Uppsala University. ..“

"This site and its affiliates make available the research, editions and transcriptions of a number of musicologists and performers around the world. We invite submissions for inclusion from anyone interested in the field, encourage discussion of issues concerning the genre as well as any related issues.

We specialise in publishing works which are difficult to find or have not been reproduced in modern editions. All of our editions are based upon the original manuscripts or period printings and editorial changes are clearly marked so that performers are able to make informed choices in preparing the works. Most of the music in the catalogue has never before been available in modern editions or recordings - we invite you to enter the world of this great vocal music.

Cantata Web editions are high quality but incredibly low-priced, presented with informative prefaces and translations where appropriate/available. All Cantata Web editions are printed on heavy (100gsm) paper, comb-bound for easier reading and protected by card and plastic covers. Continuo lines are not realised due to the importance of interpretation for each individual. All editions are provided with a single copy of the score and all instrumental parts. Parts are generally single-sheet except for collections where parts are similarly bound. ... " Visit website for more information. (ed.)

“Over the past 40 years, Ashgate has grown to become one of the world’s leading publishing houses. We understand the value of academic research and scholarship, and we are proud of our responsiveness, flexibility and independence. Our business is driven not by text books or journals but by a program of cutting-edge research publications and specialist reference books. All books published within the Ashgate list are subject to peer review by recognized authorities in the field. We publish over 700 titles a year in Humanities and Social Science subject areas, we have well-established reprint Reference series, and we are the publishers of the highly regarded Variorum series.“

"Baroque Aria has been launched to offer arias from Baroque operas, serenatas, dramme per musiche and cantatas which were much fêted in their day and still stand today as excellent examples of the genre. You can preview, audition and purchase music, much of which is not available in any other place.

Composers such as Handel and Porpora, Giacomelli and Mancini (with occasional forays into the work of composers both earlier and later).

Select the music you'd like to view and suggest music you would like to see available on the site.

We have access to some of the greatest collections of manuscripts in the world, both autograph copies of whole operas and excellent contemporary collections of arias by a vast range of composers. Take advantage of this and the music and articles available. ... " Visit website for more information. (ed.)

"We hope you will spend time wandering around the site and exploring what exciting music we have to offer, in addition to our articles and composer biographies. Please add to the resources if you can, and submit your music-related site to our links page.

We aim to be a directory and a series of web-based resources for baroque music performers and researchers with a particular bias towards the UK. Join our discussions, add articles and your own editions and transcriptions. ... " Visit website for more information. (ed.)

" ... The Serenata is one of the more fascinating genres of the baroque period. Usually written for a specific occasion such as birthdays or to celebrate great events, the Serenata was neither opera (as it was generally performed at most in a semi-staged manner) and more than a cantata (although many serenatas were subtitled Cantata à 2/3/4/5 etc).

The research of the people involved in this site revolves around the works of Neapolitans like Alessandro Scarlatti, Domenico Sarri, Leonardo Leo and Nicola Porpora to name but a few. We are editing, performing and recording works within the genre and hope that you will contribute to the site's work by letting us know of your experiences within this style. Performers, musicologists and interested amateurs are all welcome to make comments and suggestions, to contribute music or articles, even advertise performances around the globe. ... " Visit website for more information. (ed.)

“Cambridge University Press is the publishing department of the University of Cambridge. Dedicated to excellence, our purpose is to further the University's objective of advancing knowledge, education, learning, and research.

Our extensive peer-reviewed publishing lists comprises over 40,000 titles covering academic research, professional development, over 280 research journals, school-level education, English language teaching and bible publishing. This list is growing at a rate of over 4,000 ISBNs every year and spans subjects from aesthetics through to zoology, with authors ranging from Shakespeare to English language teaching author, Ray Murphy.

A pioneer in our field, we are committed to supporting innovation in learning and teaching. We publish without boundaries, ensuring our resources are accessible across the globe, in print, digital and online formats.

We take pride in supporting community programmes across the globe. Staff are encouraged to offer practical help, advice and funding to nurture vital charitable, educational and voluntary partnerships.

Playing a leading role in today’s global market place, we have over 50 offices around the globe, and distribute our products to nearly every country in the world. We publish authors based in over 100 different countries. …“

“Corda Music Publications have many hundreds of editions currently available, and regularly add new items to the catalogue. The website is intentionally designed without complicated graphics and animations so that information will download as quickly as possible. We apologise to those who prefer to sit by their flickering screens for hours at a time in order to admire kneecap-cracking graphics and all-singing all-dancing fantastickalls from the whizz kids of the Web. …

The Early Music Catalogue is mostly on one long page, but there are some digressions available, - for example, the work on Jane Austen's music Jane Austen, including CDs, and another features the books by Judy Tarling on Baroque String Playing and The Weapons of Rhetoric. Our Early Music editions are for period instruments from approximately 1550 - 1800. They include a variety of consort music for viols, and works for voices and instruments. There is a range of books by the internationally acknowledged teacher Alison Crum designed for those learning to play the viol. Though we specialise in early music for strings, many of the consort pieces can also be performed by recorders, etc. …”

“This book is about the instrument which evolved into the bassoon. My original idea was to compile a complete guide to all extant curtals and all known references to their use. This has proved to be an impossible task since not only are new instruments still occasionally found, but also because there are enough references to their use in Spain alone to warrant a whole lifetime researching them all. The chronological and repertoire sections in particular should therefore be regarded as giving representative examples, illustrating the enormous use which was made of these instruments. ..“

This website comprises the public pages of 'Female musicians at the courts of Ferrara and Parma, 1565-1589', an AHRB-funded collaboration between the ensemble Musica Secreta and musicologist Laurie Stras. The collaboration was formed in order to investigate performing practices at the Farnese and d'Este courts in the latter half of the sixteenth century. The project is generating transcriptions, performing scores and recordings of music associated with the two courts, made available to the wider musical community via this site. " Visit website for more information. (ed.)

“Did Bach Really Mean That? Deceptive Notation in Baroque Keyboard Music is an introduction to some of the most important conventions underlying the notation used by Baroque composers. Without an understanding of these conventions, a modern performer can fall into a literal reading of the score, which can sometimes result in either a partial, or a mistaken interpretation. Such a performance may not only be different from what the composer intended: it may also be simplistic and unexciting.

Colin’s long-standing concern for possible meanings lying beneath the surface of notation, was particularly encouraged by twenty years of teaching by Colin Tilney (at Dartington and at other summer schools) and by discussions with Dr. John Byrt, a passionate advocate of idiomatic rhythmic performance of apparently equal notes.

The book originated in a series of lectures given at Dartington International Summer School. Colin was repeatedly asked by participants, whether the content of the lectures was to be available as a book, and the present volume is the result of a further decade of work to that end. It eventually took the form of a systematic exploration of notational conventions, from the most basic (note-length and touch) through to rhythmic complexities, notational formulae, and certain aspects of ornamentation.

Far from imposing any rules, however, the book can liberate players from a literal dependence upon the score, reveal hidden possibilities within it, and enable performers to get that bit closer to the mindset of Baroque composers themselves. J.S.Bach was and is the most important of these, and Colin’s recording of the Goldberg Variations is not just a personal “take” on this magnificent work, but an audible demonstration of his understanding of certain features of it, as explored in the book. “